Sept 5th – Oct 18th 2014
Document is pleased to present Form Without a Room, a collaborative exhibition of new works by Christalena Hughmanick and Sterling Lawrence.
Christalena Hughmanick and Sterling Lawrence’s collaborative works use rejected Burberry raincoat fabric in the form of moving blankets as a framing device. The photographic images housed within explore abstracts, a fragmented index of information from the beginning of known documented knowledge pertaining to surgical knots. Suspended knot braces become the support for sculptural clay forms, which are reminiscent of the body. Moving blankets deprived of their imagined utility have become the framing units for studies of surgical knots. These knots have three origins of intended use but the focus has been placed on how the knots hold a patient in position.
Christalena Hughmanick currently lives and works in Chicago. Hughmanick’s practice utilizes performance, photographs, textile and sculpture. Her practice continually asks how the value of a thing shifts when it meets a body and attempts to make tangible the space between what is sought after and what is found. Christalena has an MFA from the School of the Art Institute of Chicago and has exhibited in group shows at the Kinsey Institute SoFA Gallery in Bloomington, IN; A.P.E. Gallery in Northampton, MA, SOIL Gallery in Seattle, WA; Sullivan Galleries in Chicago; and Western Exhibitions in Chicago.
Sterling Lawrence is an artist living and working in Chicago. Lawrence works between image and objects in tied connections through installation. Relations between objects are complicated by their imagined and therefore suggested utility, which is often exaggerated or muted. The temporal nature of of these works are distressed through their relationship within the networks that they produce. Sterling Lawrence has had solo exhibitions with Devening Projects, Chicago; Tony Wight Gallery, Chicago; and has been included in group exhibitions at Scotty Enterprises,Berlin; Soloway, NY; Columbia College, Chicago; Devening Projects, Chicago; and New Capital via Forever and Always, Chicago
Exhibition Brochure Link
Jun 6th – July 26th 2014
Document is pleased to present I want to be an honest man and a good writer., a solo exhibition of new works by Marco Braunschweiler.
The exhibition takes the starting point of the Lilium Oriental Stargazer, developed in Southern California in the 1970s. This selection of photographs and timelapse films of Lilies opening and dying deal with the hybridization of media (and mediums) and the commercialization, packaging and sale of everyday rituals. Initially focused on aesthetic reduction this body of work moved, with time, toward a more nuanced study of creative labor–its commodification and exploitation.
The works on monitors use timelapse photography to speed up the slow stretching and growing lilies make over days into a few short minutes. This intimate experience placidly shows these flowers as dynamic, growing objects. The second set of works is a series of photographs taken from overhead of lilies in the newspapers they were wrapped in, with other ephemera from the studio. The 3 photographs are printed directly onto Plexiglas and attached to the wall using commercial sign brackets. This presentation allows the ink to float on the surface of the Plexiglas and over time eventually fade like the newsprint the flowers are wrapped in.
Marco Braunschweiler (b. 1985) is a Swiss-American artist, curator and lecturer based in Los Angeles. He was the director of Golden Age, Chicago; has presented programs at the Art Institute of Chicago, and White Flag Projects, St. Louis. Braunschweiler has exhibited at the Swiss Institute, New York, the Green Gallery, Milwaukee, the Institute of Contemporary Art, Philadelphia, and The Museum of Contemporary Art, Chicago.
An essay by Zachary Kaplan accompanies the exhibition. Click Here
Apr 25th – May 31st 2014
Document is pleased to present Weling, a solo exhibition of new works by Thomas Killian Roach.
For several years Roach has made flatbed scans of movies and live feeds directly from a small tube television—distorting the uniform moving image into fluctuating waves, compressing multiple shots onto a singe plane. His process resembles weaving: the longitudinal grille of the television is the warp; the horizontal movement of the scanning bar the weft; the television’s electron gun a loom’s fast-moving shuttle.
Roach’s idiosyncratic process extends and expands upon a minor tradition that spans Eadweard Muybridge and Etienne-Jules Marey’s motion studies, early Modernist collage, and Chris Marker’s manipulations of time, memory, and the electronic image.
Roach has made and archived thousands of scans; Weling is their debut. The five works on view represent distinct lines of his practice. The exhibition’s title, Weling, is disjointed text recorded in one of his first scans of live television.
The exhibition features three large-format scans and two smaller studies. An essay by Ara Merjian accompanies the exhibition.
Thomas Killian Roach (b. Bridgeport, Connecticut 1985) lives and works in Chicago. He is a graduate of the School of the Art Institute of Chicago and has recently exhibited in Cologne, Dusseldorf, Berlin and Chicago.
Click Here for Exhibition Brochure PDF